Myron Wood

Lithographer's Bench

Unknown

Photo printed on Hahnemuhle Baryta paper. Edition of 25. Unframed.

Photo printed on Hahnemuhle Baryta paper. Edition of 35. Unframed.

Photo printed on Hahnemuhle Baryta paper. Edition of 25. Unframed.

Photo printed on Hahnemuhle Baryta paper. Edition of 25. Unframed.

"Pyramid & Palms" is a black & white framed silver gelatin print (photograph) of a stone monument in landscape w/ trees from artist Jenny Lynn's "Little Rit...

"Hand & Foot" is a black & white framed silver gelatin print (photograph) studio still life with glove, leopard print fur, and tree bark textures from artist Jenny Lynn...

A series of five photographs by Betty Hahn titled, "Arrival or Departure (After Hitchcock), 1987, a series of five gelatin silver photographs" 17" by 24 each". A copy of the book included "Betty Hahn by Steve Yates. Gelatin silver photographic prints on paper mounted on foam board. Each has a sticker "BHC" with the letter indicating the print sequence "A-E". Following excerpt from the book "Betty Hahn "Photography Or Maybe Not" by Steve Yates, from the essay by Dana Asbury: "Instead of crime fiction and forensic photograph, the first filmic sequences have a moody raking light of film noir in the forties, and she titles Arrival or Departure (After Hitchcock) (plate 117). This series of 5 photographs (1987) shows the back of a man, unidentified, at a deserted train station, in late afternoon light. The rest is ambiguous. Is he coming or going? Is he moving away from him? Is there significance to the first close-up shot of a black duffel bag stuffed under his arm? It was of course Hitchcock's particular genius to explore the ominousness of everyday situations, and to show us that looking to long at anything makes it look suspicious. This series pays homage to Hitchcock's use of the tracking shot that conveys his terrifying message behind "Teddy Bear", that there is serious threat in ordinary objects. This series also fits in with the mood of "Appearance, Ehrlichman Surveillance", and many of the crime series-solitary male figure in an urban setting. There is a tough edge to these works." Unsigned, gallery receipt of purchase copy included with notation on verso . 5 framed images. Each image, 16.5"H x 23.5"L. The following biography is by Fumiko Koizumi at: The Visual Studies Workshop in association with the State University of New York at Brockport Betty Hahn was born Elizabeth Jean Okon on October 11, 1940 in Chicago, Illinois. In 1967, Betty Hahn moved to Rochester to pursue a job at Kodak or Xerox. While in Rochester, she participated in Nathan Lyons's Visual Studies Workshop from 1967 to 1968. Lyons lectured on "vernacular" and "snap shot" photography to workshop students, reinforcing Betty's interest in this "folk" tradition. During her time at the VSW she met Tom Barrow, Roger Mertin, and Alice Wells, and reconnected with Robert Fichter. She was encouraged by how their work was challenging the rules of what was common in fine-print photography. At age 10, her aunt Marcella Brown gave Betty her first camera, a Brownie #2. At this same time the Okon family moved to Indianapolis, Indiana. After graduating from Scecina Memorial Catholic High School in Indianapolis, she entered Indiana University in Bloomington, Indiana. She earned a four-year scholarship and studied fine arts. While she was experimenting with photographic image making her initial artistic experiences involved painting and drawing. She did not take photography seriously as a medium for her artistic expression during her undergraduate work. At age 23, Hahn graduated with a Bachelor of Arts degree and continued at Indiana University for graduate studies in the department of photography. At the suggestion of Henry Holmes Smith...

Color wildlife photograph from 1991 by photojournalist Thomas Mangelsen. The work features a herd of zebras gathered around a watering hole. Signed, dated, and editioned 33/950 along lower from margin. Currently hung a complementary black frame with a cream matting. Dimensions Without Frame: H 24.5 in. x W 35 in. Artist Biography: A Nebraska native, Mangelsen’s love of nature, his life outdoors and business success were heavily influenced by his father. An avid sportsman, Harold Mangelsen took his sons to favorite blinds along the Platte River in Nebraska to observe the great flocks of ducks, geese and cranes that migrate through the valley. From these adventures, Mangelsen learned important lessons for photographing in the field, most notably patience and understanding animal behavior. In 1965, Mangelsen began studying business at the University of Nebraska. In 1967, Tom transferred to Doane College in Crete, Nebraska, where he changed his major and graduated with a bachelor’s degree in biology. Tom continued postgraduate study in zoology and wildlife biology at the University of Nebraska and Colorado State University. In 1970 Mangelsen moved to Nederland, Colorado. He spent two years living in the Rocky Mountains in an old mining shack without electricity or running water with his English setter, black lab and raccoon. Tom continued to work on his photography and studied arctic alpine ecology at the University of Colorado’s Mountain Research Station near Nederland. There he met Bert Kempers, a CU film producer, who later hired Tom as cinematographer and film editor for his company Westwind Productions, making educational and nature documentaries. Tom longed to make a documentary about the Platte River and its great wildlife resource. He returned to the Platte each spring to film the great crane migration. These experiences led to Tom traveling to the cranes’ nesting grounds in Alaska and their wintering areas in Texas. National Geographic television wanted to produce a documentary, which would chronicle the plight of the endangered whooping crane...